1. AUDIO-SOUND HearingListening

2. AESTHETICS  Realism –Illusion of reality to support the visuals  Modernism –Sound independent of visuals  Post Modernism –Emphasizes listener participation to raise emotions

3. TYPES OF MICS  Transducer –Converts sound to electronics –Vibration of air against surface  Dynamic  Ribbon  Condenser (Electret)  Digital (still analog)

4. PICK UP PATTERNS  Omni-directional  Bi-directional  Unidirectional  Cardiod  Super cardiod

5. MIC PLACEMENT  On-camera –Hand-held –Desk/floor stand –Lavaliere-lapel  Off-camera –Boom  Fishpole, Giraffe, Perambulator –Hidden  Body, hanging, prop

6. MIC SELECTION  Pickup pattern  Hidden-visible  Close-distant  Quality vs. expense  Transducer

7. BEYOND MONAURAL  Multiple mics –Close –Phasing  3 X rule p. 164 –Mixer  Stereo –Multiple mics or special mics  Surround or 5.1 or ???

8. SOUND CONTROL  Noise –Unwanted added sound –Too low level –Signal-to-noise ratiop. 167 –Ambient noise –System noise  Distortion –Unwanted changes in sound –Too high level

9. MEASUREMENT  Volume-intensity-loudness  Meters –Volume Units (VU) (average) –Peak Program Meter (PPM) (Peak) –Calibrated in dBs & % of distortion level  Lights –Peak flashing –Light Emitting Diodes (LED)  Automatic: AGC, ALC

10. CABLES  Professional- 2 + shield  Amateur - 1+ shield  Avoid –Power lines (cross at right angle) –Long lines –Coiled cable  Proper handling –Over-under coiling –Don’t step on cables

11. CONNECTORS-PLUGS  Audio –XLR, –1/4” (phone), –RCA (phono), – Mini (1/8”0  Video –BNC –RF (F)

12. MIXING  Console-mixer-board  Three stages –Input-mixing-output  Controls-faders  Pre-amplifiers  Amplifiers  Distribution  Monitors,metering

13. LEVELS  Low –Mics, turntables  Line –Deck outputs (CD, R-Dat, Tapes)  High –Speaker, headphones

14. SETTING LEVELS  One at a time  80% as starting point  Keep out of the “mud”  Keep below distortion  Head room

15. COMMANDS  Fade (in or out)  Segue  Cross fade  Cut  Open  Sound up and under (bed)  Backtime

16. SOUND PERSPECTIVE  Alone- self-explanatory  Match visuals or counterpoint  Stereo is not real  Surround, 5.1 moves toward realism

17. DIGITAL  Digital Audio Workstations (DAW) –Can replace entire control room –Any PC/Mac with audio card  Audio in and audio out always analog